The technique of film and video editing: history, theory, and practice
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam [u.a.]
Elsevier
2011
|
| Ausgabe: | 5. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XXV, 459 S. Ill. |
| ISBN: | 9780240813974 |
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Datensatz im Suchindex
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|---|---|
| adam_text | IMAGE 1
THE TECHNIQUE OF FILM
AND VIDEO EDITING HISTORY, THEORY, AND PRACTICE FIFTH EDITION
KEN DANCYGER
C V JI* AMSTERDAM * BOSTON * HEIDELBERG * LONDON * NEW YORK * OXFORD
..-JLIJIGFLAIIL P AR I S * SAN DIEGO * SAN FRANCISCO * SINGAPORE *
SYDNEY * TOKYO ELSEVIER FOCAL PRESS IS AN IMPRINT OF ELSEVIER
IMAGE 2
CONTENTS!
ACKNOWLEDGMENTS XV
INTRODUCTION XVII
ABOUT THE WEBSITE XXV
SECTION 1 HISTORY OF FILM EDITING
CHAPTER 1 THE SILENT PERIOD 3
EDWIN S. PORTER: FILM CONTINUITY BEGINS 4
D. W. GRIFFITH: DRAMATIC CONSTRUCTION 5
INTERNATIONAL PERSPECTIVES 12
VSEVOLOD I. PUDOVKIN: CONSTRUCTIVE EDITING AND HEIGHTENED REALISM 13
SERGEI EISENSTEIN: THE THEORY OF MONTAGE 16
METRIC MONTAGE 17
RHYTHMIC MONTAGE 18
TONAL MONTAGE 18
OVERTONAL MONTAGE 20
INTELLECTUAL MONTAGE 20
EISENSTEIN: THEORETICIAN AND AESTHETE 21
DZIGA VERTOV: THE EXPERIMENT OF REALISM 23
ALEXANDER DOVZHENKO: EDITING BY VISUAL ASSOCIATION 25
LUIS BUNUEL: VISUAL DISCONTINUITY 27
CONCLUSION 32
CHAPTER 2 THE EARLY SOUND FILM 33
TECHNOLOGICAL LIMITATIONS 33
TECHNOLOGICAL IMPROVEMENTS 35
THEORETICAL ISSUES CONCERNING SOUND 35
EARLY EXPERIMENT IN SOUND-ALFRED HITCHCOCK S BLACKMAIL 36
SOUND, TIME, AND PLACE: FRITZ LANG S M 38
THE DYNAMIC OF SOUND: ROUBEN MAMOULIAN S APPLAUSE 42
CONCLUSION 44
VN
IMAGE 3
|
CONTENTS
CHAPTER 3 THE INFLUENCE OF THE DOCUMENTARY 45
IDEAS ABOUT SOCIETY 46
ROBERT FLAHERTY AND MAN OFARAN 46
BASIL WRIGHT AND NIGHT MAIL 49
PARE LORENTZ AND THE PLOW THAT BROKE THE PLAINS 51
IDEAS ABOUT ART AND CULTURE 51
LENI RIEFENSTAHL AND OLYMPIA 53
W. S. VAN DYKE AND THE CITY 54
IDEAS ABOUT WAR AND SOCIETY 56
FRANK CAPRA AND WHY WE FIGHT 56
HUMPHREY JENNINGS AND DIARY FOR TIMOTHY 57
CONCLUSION 60
CHAPTER 4 THE INFLUENCE OF T HE POPULAR ARTS 61
VAUDEVILLE 61
THE MUSICAL 64
THE THEATRE 65
RADIO 66
CHAPTER 5 EDITORS WHO BECAME DIRECTORS 71
ROBERT WISE 72
THESET-UP 74
I WANT TO LIVE! 75
WEST SIDE STORY 77
DAVID LEAN 79
LEAN S TECHNIQUE 80
LEAN S ART 83
CHAPTER 6 EXPERIMENTS IN EDITING: ALFRED HITCHCOCK 87
A SIMPLE INTRODUCTION: PARALLEL ACTION 88
A DRAMATIC PUNCTUATION: THE SOUND CUT 88
DRAMATIC DISCOVERY: CUTTING ON MOTION 89
SUSPENSE: THE EXTREME LONG SHOT 89
LEVELS OF MEANING: THE CUTAWAY 90
INTENSITY: THE CLOSE-UP 90
THE MOMENT AS ETERNITY: THE EXTREME CLOSE-UP 91
DRAMATIC TIME AND PACE 92
THE UNITY OF SOUND 92
THE ORTHODOXY OF THE VISUAL: THE CHASE 94
DREAMSTATES: SUBJECTIVITY AND MOTION 95
CONCLUSION 97
IMAGE 4
CONTENTS
CHAPTER 7 NEW TECHNOLOGIES 99
THE WIDE SCREEN 99
CHARACTER AND ENVIRONMENT 102
RELATIONSHIPS 104
RELATIONSHIPS AND THE ENVIRONMENT 105
THE BACKGROUND . 106
THE WIDE SCREEN AFTER 1960 107
CINEMA VERITE 109
CHAPTER 8 INTERNATIONAL ADVANCES : 115
THE DYNAMICS OF RELATIVITY 116
THE JUMP CUT AND DISCONTINUITY 118
OBJECTIVE ANARCHY: JEAN-LUC GODARD 121
MELDING PAST AND PRESENT: ALAIN RESNAIS 123
INTERIOR LIFE AS EXTERNAL LANDSCAPE 125
CHAPTER 9 THE INFLUENCE OF TELEVISION AND THEATRE 133
TELEVISION 133
THEATRE 137
CHAPTER 10 NEW CHALLENGES TO FILMIC NARRATIVE CONVENTIONS 143
PECKINPAH: ALIENATION AND ANARCHY 143
ALTMAN: THE FREEDOM OF CHAOS 146
KUBRICK: NEW WORLDS AND OLD 148
HERZOG: OTHER WORLDS 150
SCORSESE: THE DRAMATIC DOCUMENT 150
WENDERS: MIXING POPULAR AND FINE ART 152
LEE: PACE AND SOCIAL ACTION 153
VON TROTTA: FEMINISM AND POLITICS 158
FEMINISM AND ANTINARRATIVE EDITING 160
MIXING GENRES 162
CHAPTER 11 THE MTV INFLUENCE ON EDITING 1 165
ORIGINS 166
THE SHORT FILM 167
WHERE WE ARE NOW-THE STATE OF THE MTV STYLE 167
THE IMPORTANCE OF FEELING STATES 168
THE DOWNGRADING OF THE PLOT 168
DISJUNCTIVE EDITING-THE OBLITERATION OF TIME AND SPACE 169 THE
SELF-REFLEXIVE DREAM STATE 170
THE MEDIA LOOKS AT ITSELF 171
OLIVER STONE S CAREER 171
NATURAL BORN KILLERS 172
IMAGE 5
CONTENTS
CHAPTER 12 THE MTV INFLUENCE ON EDITING II 177
THE CASE OF SAVING PRIVATE RYAN 178
THE CASE OF ANG LEE S CROUCHING TIGER, HIDDEN DRAGON 182
THE SET-PIECES 183
THE CASE OF IN THE MOOD FOR LOVE 186
THE MTV STYLE OF IN THE MOOD FOR LOVE 187
THE CASE OF LIFE IS BEAUTIFUL 188
THE SET-PIECES IN LIFE IS BEAUTIFUL 189
THE CASE OF TAMPOPO 190
THE SET-PIECES IN TAMPOPO 191
CONCLUSION 192
CHAPTER 13 CHANGES IN PACE 193
EVOLUTION OF PACE IN FILMMAKING 193
PACE IN THE DOCUDRAMA 194
PACE IN THE THRILLER 195
PACE IN THE ACTION-ADVENTURE 198
PACE IN THE MUSICAL 199
ANTI-PACE IN TARANTINO S INGLOURIOUS BASTERDS 200
CONCLUSION 202
CHAPTER 14 THE APPROPRIATION OF STYLE I: IMITATION AND INNOVATION 203
NARRATIVE AND STYLE 203
STYLE FOR ITS OWN SAKE 205
BREAKING EXPECTATIONS 206
IMITATION VERSUS INNOVATION 207
IMITATION AND INNOVATION 208
CHAPTER 15 THE APPROPRIATION OF STYLE II: LIMITATION AND INNOVATION 213
THE ELEVATION OF CINEMA VERITE 213
THE RETURN OF MISE-EN-SCENE 217
THE CLOSE-UP AND THE LONG SHOT 222
CAMERA PLACEMENT AND PACE: THE INTERVENTION OF SUBJECTIVE STATES 227
CHAPTER 16 THE APPROPRIATION OF STYLE III: DIGITAL REALITY 233
ARTIFICIAL REALITY 233
VIDEO OVER FILM 234
CONSTRUCTED ARTIFICE 235
THE IMAGINED AS THE OBSERVATIONAL 235
USE OF SPECTACLE 236
USE OF SPECIAL EFFECTS 237
REALISM 237
IMAGE 6
CONTENTS
* F MI: .
SECTION 2 GOALS OF EDITING
CHAPTER 17 EDITING FOR NARRATIVE CLARITY 243
THE PLOT-DRIVEN FILM 244
FIVE FINGERS 244
MOUNTAINS OF THE MOON 245
INVICTUS . 246
THE CHARACTER-DRIVEN FILM 248
HANNAH AND HER SISTERS 248
VAIMONT : 249
HERO 249
THE CASE OF THE HOURS 250
THE CASE OF ATONEMENT 252
CHAPTER 18 EDITING FOR DRAMATIC EMPHASIS 255
UNITED 93 255
THE DOCUDRAMA EFFECT 258
THE CLOSE-UP 258
DYNAMIC MONTAGE 259
JUXTAPOSITION 260
PACE 260
FROST/NIXON 261
DIFFERENT GOALS, DIFFERENT STRATEGIES 264
THE CLOSE-UP 264
DYNAMIC MONTAGE 265
JUXTAPOSITION 265
PACE 266
CHAPTER 19 EDITING FOR SUBTEXT 267
THE DEPARTED 271
LUST, CAUTION 272
THERE WILL BE BLOOD 273
CHAPTER 20 EDITING FOR AESTHETICS 277
BRIGHTON ROCK 278
THE THIRD MAN 279
THE PASSION 282
SECTION 3 EDITING FOR THE GENRE
CHAPTER 21 ACTION 287
THE CONTEMPORARY CONTEXT 289
THE GENERAL: AN EARLY ACTION SEQUENCE 292
RAIDERS OF THE LOST ARK: A CONTEMPORARY ACTION SEQUENCE 294
IMAGE 7
CONTENTS
THE BOURNE ULTIMATUM: THE ULTIMATE USE OF PACE IN AN ACTION SEQUENCE 296
CASE STUDY: A HISTORY OF VIOLENCE: AN ALTERNATIVE ACTION SEQUENCE 298
CHAPTER 22 DIALOG 301
DIALOG AND PLOT 302
DIALOG AND CHARACTER..,. 303
MULTIPURPOSE DIALOG 304
TROUBLE IN PARADISE: AN EARLY DIALOG SEQUENCE 306
CHINATOWN: A CONTEMPORARY DIALOG SEQUENCE 309
MICHAEL CLAYTON: DIALOG AS TRANSFORMATIVE DEVICE 312
CHAPTER 23 COMEDY 315
CHARACTER COMEDY 315
SITUATION COMEDY 316
SATIRE 316
FARCE 316
EDITING CONCERNS 316
THE COMEDY DIRECTOR 318
THE PAST: THE LADY EVE-THE EARLY COMEDY OF ROLE REVERSAL 320 THE
PRESENT: VICTOR VICTORIA -A CONTEMPORARY COMEDY OF ROLE REVERSAL 321
FORGETTING SARAH MARSHALL: EMOTIONAL ROLE REVERSAL 324
CONCLUSION 325
CHAPTER 24 DOCUMENTARY 327
QUESTIONS OF ETHICS, POLITICS, AND AESTHETICS 328
ANALYSIS OF DOCUMENTARY SEQUENCES- MEMORANDUM 329
SIMPLE CONTINUITY AND THE INFLUENCE OF THE NARRATOR 329
THE TRANSITIONAL SEQUENCE 330
THE ARCHIVAL SEQUENCE 332
A SEQUENCE WITH LITTLE NARRATION 334
THE REPORTAGE SEQUENCE 336
CHAPTER 25 IMAGINATIVE DOCUMENTARY 341
ALTERING MEANING AWAY FROM THE LITERAL 341
THE WARTIME DOCUMENTARY: IMAGINATION AND PROPAGANDA 343
THE CASE OF LISTEN TO BRITAIN 344
CONCLUSION 347
CHAPTER 26 INNOVATIONS IN DOCUMENTARY 1 349
THE PERSONAL DOCUMENTARY 349
CHANGES IN THE USE OF NARRATION 355
THE NARRATOR AS OBSERVER 355
THE NARRATOR AS INVESTIGATOR 356
IMAGE 8
I
CONTENTS
THE NARRATOR AS GUIDE 357
THE NARRATOR AS PROVOCATEUR 359
CONCLUSION 361
CHAPTER 27 INNOVATIONS IN DOCUMENTARY II 363
SECTION 4 PRINCIPLES OF EDITING
CHAPTER 28 THE PICTURE EDIT AND CONTINUITY 371
CONSTRUCTING A LUCID CONTINUITY 372
PROVIDING ADEQUATE COVERAGE 372
MATCHING ACTION 373
PRESERVING SCREEN DIRECTION 375
SETTING THE SCENE 378
MATCHING TONE 378
MATCHING FLOW OVER A CUT 378
CHANGE IN LOCATION 379
CHANGE IN SCENE 380
CHAPTER 29 THE PICTURE EDIT AND PACE 381
TIMING 382
RHYTHM 383
TIME AND PLACE 387
THE POSSIBILITIES OF RANDOMNESS UPON PACE 388
CHAPTER 30 NONLINEAR EDITING A ND DIGITAL TECHNOLOGY I 391
THE TECHNOLOGICAL REVOLUTION 391
THE LIMITS OF TECHNOLOGY 392
THE AESTHETIC OPPORTUNITIES 392
THE NONLINEAR NARRATIVE 393
PAST RELIANCE ON LINEARITY 393
A PHILOSOPHY OF NONLINEARITY 394
THE ARTISTS OF NONLINEAR NARRATIVE 395
CHAPTER 31 NONLINEAR EDITING AND DIGITAL TECHNOLOGY II 399
THE FRAMEWORK 399
THE CASE OF THE ICE STORM 400
THE CASE OF HAPPINESS 403
THE CASE OF THE THIN REDLINE 405
THE CASE OF MAGNOLIA 409
CHAPTER 32 CONCLUSION 413
IMAGE 9
APPENDIX: FILMOGRAPHY 415
GLOSSARY 435
SELECTED BIBLIOGRAPHY 443
INDEX 445
ONLINE
CHAPTER 1 IDEAS AND SOUND
CHAPTER 2 THE SOUND EDIT AND CLARITY
CHAPTER 3 THE SOUND EDIT AND CREATIVE SOUND
CHAPTER 4 INNOVATIONS OF SOUND
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| spelling | Dancyger, Ken Verfasser aut The technique of film and video editing history, theory, and practice Ken Dancyger 5. ed. Amsterdam [u.a.] Elsevier 2011 XXV, 459 S. Ill. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Film Motion pictures Editing Video tapes Editing Montage Film (DE-588)4281773-0 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Video (DE-588)4078895-7 gnd rswk-swf Elektronisches Editieren (DE-588)4151925-5 gnd rswk-swf 1\p (DE-588)4017102-4 Film gnd-content Montage Film (DE-588)4281773-0 s Film (DE-588)4017102-4 s Video (DE-588)4078895-7 s Elektronisches Editieren (DE-588)4151925-5 s DE-604 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020874829&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Dancyger, Ken The technique of film and video editing history, theory, and practice Film Motion pictures Editing Video tapes Editing Montage Film (DE-588)4281773-0 gnd Film (DE-588)4017102-4 gnd Video (DE-588)4078895-7 gnd Elektronisches Editieren (DE-588)4151925-5 gnd |
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| title | The technique of film and video editing history, theory, and practice |
| title_auth | The technique of film and video editing history, theory, and practice |
| title_exact_search | The technique of film and video editing history, theory, and practice |
| title_full | The technique of film and video editing history, theory, and practice Ken Dancyger |
| title_fullStr | The technique of film and video editing history, theory, and practice Ken Dancyger |
| title_full_unstemmed | The technique of film and video editing history, theory, and practice Ken Dancyger |
| title_short | The technique of film and video editing |
| title_sort | the technique of film and video editing history theory and practice |
| title_sub | history, theory, and practice |
| topic | Film Motion pictures Editing Video tapes Editing Montage Film (DE-588)4281773-0 gnd Film (DE-588)4017102-4 gnd Video (DE-588)4078895-7 gnd Elektronisches Editieren (DE-588)4151925-5 gnd |
| topic_facet | Film Motion pictures Editing Video tapes Editing Montage Film Video Elektronisches Editieren |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020874829&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT dancygerken thetechniqueoffilmandvideoeditinghistorytheoryandpractice |